Young-Hae Chang’s Cunnilingus in North Korea
Victor Hugo’s alphabet
Have you noticed how picturesque the letter Y is & how innumerable its meanings are? The tree is a Y, the junction of two roads forms a Y two converging rivers, a donkey’s head & that of an ox, the glass with its stem, the lily on its stalk & the beggar lifting his arms are a Y. This observation can be extended to every thing that constitutes the elements of the various letters devised by man. Whatever there is in the demotic language has been instilled into it by the hieratic language. Hieroglyphics are the root of letters. All characters were originally signs & all signs were once images. Human society, the world, man in his entirety is in the alphabet. Masonry, astronomy, philosophy, all the sciences start here, imperceptible but real, & it must be so. The alphabet is a source.
A is the roof with its rafters and traverse – beam, the arch, or it is like two friends who embrace and shake hands. D is the back, and B is a D on a second D, that is a “double back” – the hump; C is the crescent, is the moon, E is the foundation of the pillar and the roof – all architecture contained in a single letter. F is the gallows, the fork, G is the horn, H is the façade of a building whit its two towers, I is the war machine that projectiles, J is the plough, the horn of plenty, K signifies one of the basic laws of geometry: (the angle of reflection is equal to the angle of incidence), L is the leg and the foot, M is the mountain, or the camp within tents, N is the door, closed with a crossbar, O is the sun, P is the porter carrying a burden, Q is the croup and the tail, R signifies rest, the porter leaning on this stick, S is the snake, T is the hammer, U is the urn, V is the vase (that is why U and V are often confused). I have already said what Y signifies. X signifies crossed swords, combat – who will be victor? Nobody knows – that is why philosophers used “X” to signify fate, and the mathematicians took it for the unknown. Z is the lighting – is God.
So, first comes the house of man, and its construction, then the human body, its build and deformities; then justice, music, the church; war, harvest, geometry; the mountain, nomadic life and secluded life, astronomy, toil and rest; the horse and the snake; the hammer and the urn which – turned over and struck – makes a bell; trees, rivers, roads and finally destiny and God: This is what the alphabet signifies.
specimenism: Casey
Duotone is a layered font system that allows you to title two-tone headlines. This classic two color lettering style requires no font editing. The regular weight acts as a perfect font pairing to match the titles featuring two-shaded headlines.
Duotone’s unique effect is best achieved in a graphics application that allows you to use layers so that you may stack these fonts and assign different colors to them. The regular weight allows you to plot out titles, kerning, and leading. Copy and paste this layer in place. Change the color and font style in the new layer and repeat the process until you have “shade one” and “shade two” assigned with different colors. Hide or delete the regular layer to remove any unwanted aliasing.
This spring, GOOD launched GOOD/Corps, a new marketing agency founded to help companies promote their altruistic efforts. The single-page site is a harmonious mix of three typefaces, all of which were unavailable before the advent of @font-face. But the more remarkable fact is that each of the fonts are hosted by a different webfont service. The design team (Atley Kasky, Keith Scharwath, and Jon-Kyle Mohr) say that working with three different sources (and three different bits of code) was only a mild hassle. They also say they saved loading because they were able to use fonts, not images or Flash, to convey both content and style.
The typeface choices began with Trade Gothic Condensed #20, the primary face of GOOD/Corps’ mother company. Trade Gothic is served by Fonts.com, an outfit whose fonts and servers are far better than its online presence, so don’t be scared off by the website — I hear it’s getting an overhaul soon, thank goodness.
The lyrical Sabon, also used throughout GOOD magazine, is a fitting complement to the workmanlike Trade Gothic. This is the Monotype version, served by Webtype.
The trio is rounded off by FF Bau, ordered from FontFont and served by Typekit. For those seeking a European Grotesque but want something warmer or more human than Helvetica, FF Bau is ideal and underused. Its model was a late nineteenth century typeface, one of the first sans serifs, and a favorite of the Bauhaus.
The three typefaces, each with an italic, form a broad palette for communicating a variety of information. Armed with six very distinct font styles — and very skilled use of color — the designers bring texture and variety to a long scroll that might otherwise get quite boring. While the site is essentially a single page (built from a heavily modified Cargo blog template), users can jump to different sections through a navigation bar on the left. (via)
