Saturday, February 28, 2009

Rose-- by Janis Joplin

Some say love, it is a river,that drowns the tender reed.
Some say love, it is a razor,that leaves your soul to bleed.
Some say love, it is a hunger,an endless aching need.
I say love, it is a flower, and you it's only seed.
It's the heart, afraid of breaking,that never, learns to dance.It's the dream, afraid of waking,that never, takes the chance.
It's the one, who won't be taken,who cannot, seem to give.
And the soul, afraid of dying,that never, learns to live.
When the night has, been too lonley, and the road has been too long.
That you think that love is only,for the lucky and the strong.
Just remember in the winter,far beneath the bitter snows,
Lies the seed that with the suns love,in the spring becomes the rose.........
(.......thanks manali........)

Monday, February 16, 2009

Great thoughts by greats

Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.
— Paul Rand

The details are not the details. They make the design.
— Charles Eames

Create your own visual style… let it be unique for yourself and yet identifiable for others.
— Orson Welles

Design should never say, “Look at me.” It should always say, “Look at this.”
David Craib

more on:

Monday, February 9, 2009 long...for all the valuable ones...

Dear God: The lady reading this is
beautiful, classy and strong, and I love her.
Help her live her life to the fullest.
Please promote her and cause her to excel above her expectations.
Help her shine in the darkest places where it is impossible to love.
Protect her at all times, lift her up when she needs you the most,
and let her know when she walks with you,
She will always be safe.
Love you!!!! dear friend neha n, nid-alumna 2008

Sunday, February 1, 2009

Lovely Type designs


On Diacritics by David Březina

By The globalisation of the type market and rising interest in multi-lingual typeface design is a source of great optimism among many typographers. Yet despite the proliferation of these beautiful new typefaces, many still do not support some European languages, let alone cater for African and Asian languages. In fact, contrary to the claims of advertisements, the offering is, in respect to language support, quite limited.

The aim of this article is to explain the fundamentals behind the use and design of Latin diacritical marks (accents) and help typographers make informed choices regarding their use. Design considerations are illustrated mostly with Central-European diacritics for the following reasons: a) they are generally less familiar to Western typographers. To quote Czech type designer Tomáš Brousil: “For Western typographers our accents are as strange as, for example, the Arabic script.” That they are seen as merely an add-on to the familiar Latin alphabet often leads to severely underestimating their importance; b) they are fairly familiar to the author; c) Central European, and the Czech language in particular, made one of the earliest uses of diacritics with Latin script (the substitution of diacritics for the use of digraphs was proposed by Jan Hus in his De Ortographia Bohemica in 1412).
For some time, floating or connected marks assigned to characters have been used in numerous writing systems, and have various purposes. Greek uses them to express tonality (so-called polytonic Greek), Arabic and Hebrew use them, optionally, to annotate vowels. In some of the Indian syllabic writing systems the marks represent alteration of the syllable sound (e.g. modifying the inherent vowel component).
In Latin, diacritics are usually a tool to extend the basic alphabet for use with a particular language. That is to add new compound characters (graphemes) to represent sounds (phonemes) common in that particular language, but not representable by the basic alphabet. Crudely put, the accents are used when the basic alphabet runs out of free slots, or when a systematic approach to marking is the aim (e.g. specific marks are used consistently to express softness, length, accent, &c.).
Diacritics are clearly not the only way to extend the writing system. New characters can be added (e.g. German ß) or clusters of letters (digraphs, trigraphs) can be used to represent specific sounds (as in Welsh, for example).
Nowadays, most of European languages make use of diacritics (for a nice overview see FontShop’s “Beyond ASCII” poster). Latin script was also extended for writing many African languages and Vietnamese. Various accents are used for transliteration of non-Latin scripts-languages to Latin (e.g. the pinyin system for Chinese). The International phonetic alphabet (IPA) is yet another extension of Latin.
use of diacritics
It is often (but not always) the case that accented letters are equal citizens of vernacular alphabets. In Danish, for example, the alphabet goes “a–z, æ, ø, å”. The accented characters are compound, comprising character plus accent. Diacritical marks are therefore inherent parts of characters as much as stems or bowls. Even though accents are often detached from the basic letterforms, it does not mean they are any less important, or that they belong to punctuation.
The latter is a very common misconception and deserves some clarification. Punctuation is a tool to divide and structure sentences. Its style can differ (and it often does, in order to deliver the requisite distinction) from the stylistic principles of the letters. On the contrary, accents should form a harmonious whole with the letter-shapes they accompany, as they are intended to make consistent word-shapes to communicate meaning and/or word sounds.
This is nicely illustrated with the alternative caron. In Czech and Slovak, the caron has a special vertical form used on tall characters (ď, ť, ľ, Ľ). Its introduction was no doubt a solution to the limited vertical space available on the body of a piece of metal type. The regular caron (ě, š, č, ň, …) could not fit above the taller characters, therefore the vertical form was placed adjacent to the basic letter-shape. It is often mistakenly referred to as an “apostrophe-like accent”. But the alternative caron has nothing to do with the apostrophe! In fact, their similarity can be very confusing. The Czech word rozhoď (d with caron at the end) is the imperative form of “[do] scatter”. The word rozhod’ (apostrophe at the end), on the other hand, means “[he has] decided” in informal spelling commonly used in the literature. The possibility of text misinterpretation lead designers to come up with various ways of differentiating the caron from the apostrophe. The solution suggested by contemporary designers is based on a tight incorporation of the accents with the letters (see Peter Biľak’s Greta or some typefaces by František Štorm). The accent has a simple vertical wedge shape, whereas the apostrophe is larger and retains its typical comma-like form. Thus, the distinction between letters and punctuation remains clear.
There have been various issues with encoding non-Western characters since the early days of computers, and people became accustomed to writing emails and other ephemeral electronic communications without accents. This does not mean that the accents could be omitted in contemporary designs. They are still essential in transmitting meaning precisely, and in aiding readability.
design of diacritics
The problem with diacritics is how to judge the quality of their design if one is not an experienced reader of a particular language (note that the expectations on the same diacritics may differ depending on the language or geographic area). Some of the biggest type foundries, to this day, employ the very same set of accents for many of the typefaces they produce. This dubious cookie-cutter approach makes for unreliable designs and generally makes things even more confusing. On the other hand, there exists a tradition of good accent design. Such accents have better readability and aesthetic value for the native reader. The following points together with further references should help designers to recognise satisfactory diacritic designs:
weight & size
stylistic harmony
The broad topic of diacritics is clearly beyond the scope of this general introduction, but it should be evident by now that diacritics are not merely an add-on to the basic letters. They make letters. The views presented here focus primarily on text typefaces, where the demands, for obvious reasons, are higher. Careful research and sensitivity to their utility and aesthetic should help typographers to choose typefaces with well-designed diacritics (or at least recognise their shortcomings), thus improving the quality of many a vernacular text.

(The International Phonetic Alphabet (IPA)[note 1] is a system of phonetic notation based primarily on the Latin alphabet, devised by the International Phonetic Association as a standardized representation of the sounds of spoken language.[1] The IPA is used by foreign language students and teachers, linguists, speech pathologists and therapists, singers, actors, lexicographers, and translators.[2][3]. The IPA is designed to represent only those qualities of speech that are distinctive in spoken language: phonemes, intonation, and the separation of words and syllables.[1] To represent additional qualities of speech such as tooth gnashing, lisping, and sounds made with a cleft palate, an extended set of symbols called the Extensions to the IPA is used.[2] Occasionally symbols are added, removed, or modified by the International Phonetic Association. As of 2008, there are 107 distinct letters, 52 diacritics, and four prosody marks in the IPA proper. (Source