Like you’ve noticed, it appears to me that the state responds with much more violence to protests explicitly against violence than protests about other issues. I wonder why that is?
It’s no wonder that the protests over the last 20 years haven’t worked to garner more support considering that those who do participate are treated with violent retaliation. Maybe if those of us begging to be heard were allowed to speak, and scream and chant, it would inspire more people to unite, organize and vote.
Is it even worth going through the ways in which US democracy is broken? From the electoral system itself all the way down to extremely obvious voter suppression efforts (often specifically targeting black people), you really can't be too surprised that people do not feel that their voices are being heard.
IMO the media was not talking about income & wealth inequality before OWS. OWS forced it on the agenda and changed the very language we use to describe it: “the 99% vs the 1%”. That’s a big deal.
I'd say it raised a lot of awareness, which is exactly what protests are for. Protests don't create laws, they raise awareness. Based on that awareness, people vote and change laws.
Well none of the things the protesters wanted (broken up banks, more taxes for the rich, arrested bank execs, more social entitlements, etc) came to fruition.
You say that with such authority, but in my personal experience they can absolutely cause dependency. I've had long-lasting withdrawal effects from certain SSRIs that were both physically and mentally painful.
I understand the word "dependency" to be synonymous with what you're calling discontinuation effects. So, I think I agree with you now. Thanks for the following up with your clarification.
Yes, this is my top requested feature for DDG. As a web developer, results are very time sensitive. It's more than a nice-to-have feature when you need to discern the validity of the subject matter based on which month it was published.
The end of Moore's Law does not mean that processing power will stop improving. It just means that there will likely be a slower rate at which the number of transistors gets doubled. Say, 3 years instead of 2. I think there is a physical boundary to that, but Moore's Law doesn't really address that.
So, I'd really love some feedback on this project. The premise is that there is a certain amount of value in knowing that an image you are using won't end up all over the place. But traditional rights-managed photos end up costing a ton of money.
We are hoping to find the sweet spot in between mass sales of royalty free images and high cost of a completely exclusive license.
What do you think of the price and how much value would you put on the limited sales? Would 10 sales at $50 an image be more appealing. Would an option to "buy out" all the licenses be useful.
Please let me know if you have any questions. I'm really curious to know what you guys think. Thanks.
You're most welcome! I was, in fact, surprised nobody had submitted it. I love what you've done here and hope you'll be able to push it forward. If I had one request, it would be french diacritical marks, but I will definitely find uses for the font as-is.
Hey everybody. I'm the designer of Norwester. Thanks for the interest and feedback. Yea, the font is really limited right now. Please use it judiciously as there are a lot of glyphs not accounted for, as digitalengineer pointed out. Please let me know if you have any special requests or catch any thing not looking right. Thanks again!
Here are some possible improvements that jumped out at me:
- Certain letters including C, D, and S appear shorter than other letters, because of their round tops. Optical illusions cause letterforms with round edges (C, O, S) or pointed edges (A, V, W) to need to extend slightly farther in the rounded/pointed direction to appear to be the same size as other straighter shapes. This is called “overshoot” (https://en.wikipedia.org/wiki/Overshoot_%28typography%29).
- The spacing and kerning both need work. Letter pairs such as OV, FR, IA, AI, KE, EY, OX, MY, AP, and RT are too far apart. I’ve found that it’s easier to kern if you look at your outlines upside-down and backwards (I know Fontlab Studio has a built-in option to preview text in this manner, Glyphs might as well). Doing so helps your brain regard the outlines purely as shapes without getting sidetracked by their semiotic significance.
Another trick to type design is understanding that mathematical/geometric precision do not always result in the appearance of mathematical/geometric precision. Measurements that should theoretically be equal (such as the heights of letters as previously mentioned) often need to be fudged in order to look equal to the imperfect human eye.
The forums at Typophile are a great place to have your work critiqued by professional type designers (http://typophile.com/forum/1). Or, feel free to contact me if any of this is interesting and you want to know more. :)
The flipping horizontally & vertically hint is ridiculously awesome, and works for just about any design or artwork.
Anything that requires composition can be improved by flipping the work one way or another. Lots of digital artists use this all the time to check anatomy too.
Peanut gallery comment here, on what is a really handsome font. On the S, the angularity at the two ends of the middle stroke seems at odds with the larger radii almost everywhere else. The slant of the stroke stands out in a pleasing way, but the corners are jarring. I wonder if rounder corners would preserve the first effect while mitigating the second. I suppose 2 and 5 would have to be reworked a bit if you go down this road.
The website shows 93 glyphs but I get 96 in when I load it in Illustrator. It seems like there is duplicate closing single and double quote marks, then there is a blank glyph too.
The degree symbol is not showing up. I feel like the @ symbol doesn't mesh with the rest of the font, maybe make it more rounded/disjointed and continuous where the inner swirl is.
One of my long term projects is a brand with a weather symbol (fog) being incorporated so I kind of got my hopes up for that at first, but this is easy enough to make my own really.
Thanks for the heads up on those issues. I'll take a look at what's going on there. This is my first font so I'm still new this troubleshooting stuff. Thanks for your feedback!
I was wondering if he was a New Zealander, in Canterbury we have a very characterful foehn wind we call the nor'wester. Its associated arch of cloud is called the nor'west arch. http://en.wikipedia.org/wiki/Nor'west_arch
We're not exactly imaginative with names around here.
Nice piece of work. Can we know how you made 'em? Which tools did you use, steps that you followed? Can people fork it and add those missing glyphs to make it complete?
Thanks. I used a combination of Glyphs (http://www.glyphsapp.com/) and Illustrator, and of course some sketching. This was originally just a custom wordmark for a side project and then I decided to just keep expanding to the rest of the alphabet. I definitely plan on putting all the source code on Github for people to contribute to. That would be awesome.
